oh no theory question again

Discussion in 'Education' started by samsome, Apr 29, 2020.

  1. samsome

    samsome Guest

    Is the C lydian same with any Major or Minor Key?

    or its entirely different

    thanks

     
  2.  
  3. Different

     
  4. Trurl

    Trurl Audiosexual

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    I wonder the same kinds of things... like, is bacon the same whatever kind of sandwich you put it in?
     
  5. Olymoon

    Olymoon MODERATOR Staff Member

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    No
    The major lydian scale has a major third
    The lydian minor scale has a b3
    It's "similar" to Major Locrian

    Look at his video to listen to the consequences of minor lydian:



    PS: you can skip the historic part after 1:58
     
  6. MMJ2017

    MMJ2017 Audiosexual

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    Best Answer
    So in a KEY you have 3 functions
    Tonic ( relaxed
    Subdominant ( tense
    Dominant ( the most tension that moves toward tonic )

    So C lydian occurs in G major Key as a Subdominant ( tense )
    But C lydian occurs in the C major KEY
    As a tonic ( home, relax )
    So the answer is that is different for each key.

    The way to understand this.
    Is to look at how all 12 notes work per key.

    In C major
    Our dominant is G7


    GBDF G# A A#. C#. D#
    1357. b9 9 #9. #11 b13

    So no F# in G7 but F# is #11 for the tonic Cmajor

    CEGBDF#A
    13579#11.13

    G7 resolves to C lydian

    Where in G major , C lydian is a Subdominant .

    Cmaj7/ D7/ Gmajor)

    So you have this cool thing that any chords in G major Key can be played in C major key ( just function is different )

    Think of it as the 4 chord of the key a fifth higher than yours is the tonic of yours ( it's based in the 12 notes of your current key though )


    Take A key say C major.

    So let's take C ,E, G

    How does all other of the 12 notes resolve to these ?

    C is C
    C# resolves down to C
    D resolves down C or up to E or stays still ( as 9th
    D# resolves up to E
    E is E
    F resolves down to E
    F# is #11 in Cmaj
    G is G
    G# resolves down G or up A ( A is 6th in Cmaj
    A is 6th in Cmaj
    A# resolves down to A or up to B ( b as 7th in CM
    B resolves up to C ( or stays still as maj7th CEGB
    C is C

    So that's C major how all 12 notes relate
    So C lydian is this.
    CEGBDF#A
    13579#11.13

    Yes it is in G major ,but that's not what we looking for in terms of C major .
    We looking at how any of 12 notes resolve to C,E,G
    ( That's what it means to be KEY of C major that C major is the tonic )
    So a KEY
    Means a center focus.
    A point of home base or relaxation.

    Key of C major it's that C,E,G, is home base .
    And that you still have all 12 notes in this KEY
    But they are moving toward the point of relaxation.
    There's tonic as the center point .C,E,G notes

    There's dominant as the tension that has to resolve to C,E,G notes.

    And Subdominant is just some tension moving toward either dominant or tonic.

    The Subdominant combines notes from the tonic and the dominant .

    Let's take a look.

    The Subdominant in key of C major is 2 chords.

    2.Dmin7 DFAC
    4.Fmaj7 FACE


    So looking at 2 chord DFAC
    We have the D from G7 dominant
    We have the F from G7 dominant
    Then we have the A from Cmajor tonic
    We have the C from C major tonic.

    Let's instead look at 4.FACE

    We have F from G7 dominant
    We have A from G7 dominant ( A is 9th of G7
    We have C from C major tonic
    We have E from C major tonic

    So any chord progression in the key of C follows this function movement


    Tonic/ Dominant/ Tonic/

    Tonic / Subdominant/ Tonic

    Subdominant/ dominant/ tonic/

    These are like blueprints for chord Progressions .


    We have non diatonic substitutions as well.

    IVminor category in C major

    Fmin7 resolves to Cmaj7

    Bb7 resolves to Cmaj7


    Also #IV diminished .

    F#dim7 resolves to Cmaj7

    This just means that no matter how complex music
    You write in the key of C major .

    Is always simple in terms that how the 12 notes resolve to C,E,G,

    Then simply breaking down to 3 functions .
    Tonic
    Subdominant
    Dominant

    When you get to the more advanced substitutions.
    It's still that simple.


    Take #IV ( non diatonic Subdominant substiutions


    F#dim7/ Cmaj7/

    Subdominant to tonic

    F#ACD# resolved to CEGB

    In this case this F#dim is a Subdominant resolving to tonic.

    Subdominant/ Tonic/

    ( It just means there's more variety then only having
    Dominant resolving to tonic.)

    So even bumping up against to most complex music you can make in a key it always works the same as the simple diatonic progressions .

    Fmaj7/ Cmaj/
    IV to I

    F#Dim7 / C6
    IV to I

    So no matter how complex you ever write music
    ( Even going to the maximum complexity it can offer )

    It's a matter of seeing how all 12 notes resolve to your keys tonic.
    ( As demonstrated above )

    Disclaimer
    {
    This entire explanation is regarding
    " Functional harmony in 12 tone ET "
    If your dealing with another context things work different than this explanation offers .}
     
    Last edited: May 1, 2020
  7. MMJ2017

    MMJ2017 Audiosexual

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    Samsome ,
    If you ever need a hand look me up.
    I'm in process prepairing for creating a youtube in these areas .I'm working to provide a way to take most advanced musical aspects and explain them plus demonstrate them in the simplest easiest way possible ( but not so simple to lose the real information)
    My intent and goal is to have ANYONE not have a barrier in their way to creativety. that a person can be fluent with their inner identity flowing out of them into their ART.
    ( So , this is my intent and drive although it's not ego driven I'm a student as well as a teacher I'm learning everyday also I'm not better than anyone in anyway it's just trying help out with cooperation.)
     
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